The Bartered Brides

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Overall, this is a solid production, dramatically and musically in need of some further tension, but nonetheless, an entertaining evening that admirably translates rural Bohemia to rural England. Smetana is known to much of the world as the composer of "The Moldau," the famous tone poem from his sprawling, orchestral suite called "Ma Vlast," or "My Country." But Smetana's operas are what truly established him as a founding father of Czech, classical music — and his brilliant comedy The Bartered Bride has become a mainstay in opera houses around the world. Mařenka – Pumeza Matshikiza, Jeník – Oliver Johnston, Kecal – David Ireland, Vašek – John Findon, Ludmila – Yvonne Howard, Krušina – William Dazeley, Ringmaster – Jeffrey Lloyd-Roberts, Esmeralda – Isabelle Peters, Mícha – John Savournin, Háta – Louise Winter; Original Director – Paul Curran, Revival Director – Rosie Purdie, Conductor – Jac van Steen, Designer – Kevin Knight, Lighting Designer – Howard Hudson, Choreographer – Darren Royston, Philharmonia Orchestra, Garsington Opera Chorus & Circus Troupe (led by Jennifer Robinson) Vašek expresses his confusions in a short, sad song ("I can't get it out of my head"), but is interrupted by the arrival of a travelling circus. The Ringmaster introduces the star attractions: Esmeralda, the Spanish dancer, a "real Indian" sword swallower, and a dancing bear. A rapid folk-dance, the skočná, follows. Vašek is entranced by Esmeralda, but his timid advances are interrupted when the "Indian" rushes in, announcing that the "bear" has collapsed in a drunken stupor. A replacement is required. Vašek is soon persuaded to take the job, egged on by Esmeralda's flattering words ("We'll make a pretty thing out of you").

This was the composer’s second opera with its premiere taking place in Prague, on 30 May 1866. For Smetana, its composition was a deliberate attempt to create a distinct Czech musical language through his use of folk-dance elements, but his gorgeous melodies and striking choral writing also come through strongly; he is using nationalism as a conduit for a celebration of culture rather than as an exclusive display of superiority. The contrast with other nationalist cultures is striking with the emphasis being on the primacy of love with a distinct message of anti-materiality. The opera has become central to the nation’s sense of identity although it didn’t become a fixture in the international opera repertoire until after the composer’s death. Prodaná Nevěsta; 팔려간 신부; Проданная невеста; La Fiancée vendue; La novia vendida; Satılmış Nişanlı; La núvia venuda; Myyty morsian; La sposa venduta; Prodaná nevěsta; Die verkaufte Braut; 売られた花嫁; Prodana nevesta; Продадена невеста; Brudköpet; Den solgte brud; Cô dâu bị bán đi; Prodana nevjesta; Վաճառված հարսնացուն; Sprzedana narzeczona; La Promesa venduda; הכלה המכורה; Az eladott menyasszony; Продана наречена; Η ανταλλαγμένη νύφη Big celebrations are promised in the Czech Republic for next year’s bicentenary of Bedrich Smetana, the “father of Czech opera” and composer of other orchestral and chamber music masterpieces. All eight of his operas will be staged as a cycle in Ostrava, but elsewhere we’ll have to make do with the familiar titles: no hardship when it comes The Bartered Bride, a score of sublime musical fecundity. In February 1869 Smetana had the text translated into French, and sent the libretto and score to the Paris Opera with a business proposal for dividing the profits. The management of the Paris Opera did not respond. [21] The opera was first performed outside its native land on 11 January 1871, when Eduard Nápravník, conductor of the Russian Imperial Opera, gave a performance at the Mariinsky Theatre in St Petersburg. The work attracted mediocre notices from the critics, one of whom compared the work unfavourably to the Offenbach genre. Smetana was hurt by this remark, which he felt downgraded his opera to operetta status, [22] and was convinced that press hostility had been generated by a former adversary, the Russian composer Mily Balakirev. The pair had clashed some years earlier, over the Provisional Theatre's stagings of Glinka's A Life for the Tsar and Ruslan and Lyudmila. Smetana believed that Balakirev had used the Russian premiere of The Bartered Bride as a means of exacting revenge. [23] The rampant racism against Chinese people that appeared in the book was accurate for the time period but it was painful to see. I believe our main protagonists wouldn’t condone such bigotry but I didn’t feel like we got a clear picture of their thoughts (beyond a line or two). It may be that readers of the series are expected to know that Sarah and Nan wouldn’t feel the way the rest of London seemed to (and I believe that’s likely the truth) but hearing the racism condemned from them more strongly would have been nice.

Smetana began revising The Bartered Bride as soon as its first performances were complete. [9] For its first revival, in October 1866, the only significant musical alteration was the addition of a gypsy dance near the start of act 2. For this, Smetana used the music of a dance from The Brandenburgers of Bohemia. [18] When The Bartered Bride returned to the Provisional Theatre in January 1869, this dance was removed, and replaced with a polka. A new scene, with a drinking song for the chorus, was added to act 1, and Mařenka's act 2 aria "Oh what grief!" was extended. [18] Marès, Antoine (2006). "La Fiancée mal vendue". In Horel, Catherine; Michel, Bernard (eds.). Nations, cultures et sociétés d'Europe centrale aux XIXe et XXe siècles (in French). Paris: Publications de la Sorbonne. ISBN 2-85944-550-1.

Someone is dumping the headless bodies of young women in the sewer. Each is dressed in what could be a wedding gown. Lestrade is baffled and none of the Watsons or Nan and Sarah's magical or psychical talents are giving them any help in finding out who or why this is happening. There is a general acceptance of Vašek’s immaturity when he turns up as a dancing bear and Jeník makes up with his father and is able to marry his beloved. As often happens with opera it’s not the greatest of stories, but the music and this production are of such high quality that it doesn’t really matter. The energy and dynamism cannot be faulted, as every chorus member is handed a unique character that they maintain throughout the evening. Kevin Knight’s sets ensure that when it is their turn to take centre stage the results are overwhelmingly joyous, but when their presence is to add context they do not excessively distract from the central action. Act I sees the church hall comprise a main area, with a largely cut away proscenium stage at one end, and a small kitchen, separated by a door, at the other. This enables Mařenka’s lengthy Act I scene with Jeník to take place in the latter more intimate space, while workmen tinker with spotlights in the main hall. All of the chorus members are involved in the dancing, and the Polka that ends Act I becomes a maypole routine that is as impressive for its design as its obvious exuberance. There are also some beautiful touches as an upset Mařenka leaves the dance, and everyone rushes towards her for spoiling it before realising they have unbalanced the maypole and it is on the verge of collapse. In strongly-focused voice, David Ireland presents Kecal as a consummate salesman and a bit of a wide boy. There’s a lively quartet of parents (William Dazeley, Yvonne Howard, John Savournin and Louise Winter) and a tireless circus troupe. Only in Smetana can you go to an opera and enjoy the circus. With the exception of Jeffrey Lloyd-Roberts, and it is hard to picture anyone portraying the Ringmaster in this production so well, all of the principals are different to 2019, but undoubtedly superb. As Mařenka, Pumeza Matshikiza reveals a full yet nuanced soprano that possesses a great flexibility so that all of the required sounds are shaped extremely well. Oliver Johnston, with his strong and vibrant tenor, captures Jeník’s determination to succeed and wry humour in equal measure, while the chemistry between the pair manifests itself from very early on as they even reveal it through the simple act of making sandwiches together. The Bartered Bride is ultimately a comedy, and this production makes the scene in which Mařenka refuses to listen to Jeník’s explanation particularly amusing, but what comes across most clearly is the extent of her grief because she genuinely believes that the man who loves her has sold out.Number 13 of the Elemental Masters series and this one is loosely - very loosely - based on what I believe was Bluebeard's Wives.